text:
Defoe or the DevilPat Rogers
Defoe or the Devil
Pat Rogers
The Canonisation of Daniel Defoe
by P.N. Furbank and W.R. Owens.
Yale, 210 pp., £20, February 1988, 0 300 04119 5Show More
The 'Tatler': Vols I-III
edited by Donald Bond.
The 'Spectator': Vols I-V
Oxford, 512 pp., £55, October 1987, 9780198186106Show More
Comically observant, admonitory, but not quite reproachful, very English in its good-humoured and long-suffering manner, The Canonisation of Daniel Defoe is in more ways than one a caution. The cautionary tale it tells concerns the unplanned growth of the canon of Defoe's works, which has sprawled from a hundred items to something like six times that figure in the last two centuries. P.N. Furbank and W.R. Owens take us through the stages of this galloping hypertrophy more in sorrow than in anger, but they leave no doubt that the guilty men who have swollen the corpus with their rash attributions have been abetted by the passivity of other Defoe scholars. They argue that our sense of Defoe has been distorted by this process of aggrandisement, which has been going on virtually unchecked, and at an accelerating pace, in the 20th century. What they would like to see is a 'root and branch' exercise to clear away false accretions on the body of Defoe's authenticated writing. So far so good: and no reader of their book can possibly demur at large parts of their thesis.
Yet there are problems. They are able to show without difficulty that many of the new ascriptions have been based on the haziest and most unscientific procedures. A highly entertaining part of their book reviews the succession of biographers and other students (never, significantly, bibliographers) who have been responsible for swelling the canon. We start with the Scottish man of letters George Chalmers in 1790, and end up with Professor J.R. Moore of Indiana University, whose principal work extended from the 1930s to the 1960s. We learn of William Lee, sanitary reformer and colleague of Edwin Chadwick, who found his match in the equally expansive (canon-wise) James Crossley – a more cautious and cunning operator, the extent of whose activities as a corpus-sweller has not been fully apparent until now. Furbank and Owens suggest that Chalmers was both accident-prone and obstinately credulous – witness his eager acceptance of the Ireland Shakespeare forgeries, soon dispelled by Edmond Malone. (A pity Malone never took up Defoe as an object of study.) Of the next biographer, the authors simply say that Walter Wilson's 'claims to critical skill are really very modest', an understatement on the grand scale. It is revealed of W.P. Trent, the most influential figure in Defoe studies in the early 20th century, that 'as a lifelong Anglophobe', he 'regarded Germany as, if anything, the injured party' in the First World War. So we go on, with numerous Stracheyan touches to diminish the credibility of the witnesses.
Nevertheless, for all the rhetorical skill deployed by the authors, they cannot avoid their own surmises and suppositions: 'We here put forward a speculation; indeed it is on this hypothesis that the present chapter partly hangs. It is that quite soon, Lee came to see in the affair' – of Defoe's dealings with the government publicity machine – 'an example of the sort of injustice which was all too familiar to him in his own career.' Perhaps: and one would be inclined to trust more of these authors' guesses than those of William Lee himself. But they are guesses, and that casts an awkward doubt on their own procedures.
The difficulty here could be expressed in several ways. It is partly that the authors destroy our faith in the attributions because of their subjective and impressionistic character. Yet their own reasons for doubting an ascription, in any individual case, display essentially the same process in reverse. For example, they are convinced that item # 322 in Moore's Checklist is spurious: that is, A History of the Wars of Charles XII. Their declared grounds are twofold: first, its totally unprofessional manner ('everything in it bespeaks the amateur writer'); and second, its lack of general ideas ('so intellectually vacant a chronicle'). Both views are critically arguable, but no more definitive than the evidence used to make the ascription. Later in the book the authors throw doubt on Defoe's responsibility for Moore # 425, An Historical Account of the Adventures of Sir Walter Raleigh. Again their hesitance to accept the item is understandable, but again they are pushed to speculation: a rival Chilean scheme, they believe, was Defoe's pet colonial project, and 'he loved it too dearly, one feels, to have wished to float [another scheme in the Raleigh book].' They also assume, for this purpose, that a vague and unspecific passage in Defoe's later Plan of the English Commerce is a 'mystifying reference' to the Chilean scheme, which is dangerously close to the language of the Defovian empire-builders like Trent and Moore.
Subsequently Furbank and Owens generalise their approach to the book on Charles XII, by arguing that badness (however diagnosed) is a prima facie argument against literary attributions to a writer of Defoe's stature. In principle, this seems risky: think of the awful passages produced by some great writers – the melodrama, grandiose mystifications and irrelevant tub-thumping in Balzac, alongside his sublime inventiveness, or the clumsy ineptitude to which Hardy can descend. In particular, it is a very perilous thing to rest much weight on the invariable quality of Defoe's writing. The authors make a number of claims for his powers: they admire his 'improvisatory' sentences, by which they mean something like the attribute Boulez discovers in Debussy – that is, ending up a phrase, a sentence or a paragraph in an unforeseen way, as opposed to the 'forward planning' of traditional good prose, which utilises the periodic sentence and other regular constructions. This is an agreeably positive argument, but not one which disposes of the sheer redundancy, ugly repetition and dangling syntax which mar Defoe's style, even when he is working at full pressure in his best-known pieces of creative writing. Then Furbank and Owens defend the merits of Defoe the poet, at least in two outstanding productions, The True-Born Englishman and the 'Hymn to the Pillory'. Here we are wholly into the critical mode, and again it is a warm-hearted and well-meant revaluation: but the terms are old-fashioned Leavisite vitalism, along the lines of 'this strikes us as ... a wonderfully fine piece of writing, alive in every detail.' Even if one is convinced, however, it does not avail very much in the general argument. What the authors need to establish here is, not that Defoe could write very well, but that he couldn't write very badly.
Another way of confronting the problems raised is to look at a passage on previous attempts to disintegrate, or at least loosen up, the canon. This is what Furbank and Owens have to say: 'Although scholars ... have been doing convincing work in questioning individual items and arguing for their removal from the canon, they have not on the whole called for a general reform or root-and-branch reconsideration. (Indeed, and this is an important point, they have tended to work within the normal scholarly convention of attacking an attribution only if there is a better candidate for authorship to offer.)' The implication that this is a mere 'convention', a matter of ritual and decorum, is surely false. It could, in fact, be argued that such alternative attributions constitute the strongest and most dependable way of reducing the canon. Instead of trying to purge the unwanted items by generalised inferences or character assassination of hostile witnesses, one attempts to provide a demonstration that the author was X, and so can't have been Defoe. This is surely a higher measure of reliability than can be attained by intuitions about the absence of ideas or amateurish writing.
Late on, in an appendix devoted to stylometry and Defoe, the authors assert that alternative candidates for an anonymous pamphlet which has been attributed to Defoe are bound to form 'an unlimited group'. The situation is taken to be, not 'is this by Middleton or Ford?', but 'is this by Defoe or an unknown?' (or, as the authors put it, 'Defoe against the world'). That this is an exaggeration, albeit an exaggeration of a real difference, is shown by the work which has been done to assign Defoe attributions to other known writers of the period. I cannot speak for the other scholars whom the authors mention in this context, and so will instance cases I know well from personal involvement (well, I would know them, wouldn't I?). There is, for instance, Moore 293-294, two practically identical versions of a pamphlet published in 1715. The grounds for allocating these items to John Oldmixon took many pages to set out, and include both 'internal' and 'external' evidence. Furbank and Owens rate the latter much more highly, but this may be in part because they associate internal evidence with the dredging up of 'favourite phrases' allegedly used by Defoe. In extreme cases these are as marvellously implausible as, for example, the expression 'in fine' – perhaps Henry James might be a candidate if we accepted that criterion. F. Bastian, in his book on Defoe's early life, makes attributions on the basis of (inter alia) certain 'Defoisms' which turn out to include tags such as hinc illae lachrymae. Such items of internal evidence are worth very little, as Furbank and Owens contend: but not all 'phrases and stylistic tricks' fall into the same category. The author of the 1715 pamphlet uses the phrase 'Quondam Chancellor' of exactly the same figure as does Oldmixon in pamphlets of the same period, and repeatedly employs identical expressions relating to the same named individuals as Oldmixon did elsewhere. One passage where the phrasing echoes that of Oldmixon's books concerns a very obscure priest in Bristol, dead thirty years, whom Oldmixon had known in his youth. This is, to be sure, a sort of internal evidence and nothing like clinching by itself, but it has a different order of cogency from mere favourite phrases.
Moreover, external evidence is always shading into internal, and there is more of both around than the present authors imply. I have elsewhere attempted to show that Moore # 286 and 288, two pamphlets dealing with the Bristol riot of 1714, are almost certainly the work of Oldmixon. It is true that in this case Moore allotted the items two of his rare stars, implying dubiety. The case rests on a large variety of evidence, including Oldmixon's extensive connections with Bristol, where Defoe's are suppositious and flimsily documented. The argument, of course, needs to take matters very much further than bare facts of this kind, but bare facts have their place. Moore was inclined to play fast and loose with them, but that does not mean we should not employ them at all. It helps if we understand the structure and nature of the book trade a little; Moore and others do not seem to have realised (as I did not at one time) how tenuous was the link during Defoe's lifetime between a pamphleteer and the bookseller whose name appears on the title-page. Often the name listed is that of a 'trade publisher', a kind of wholesaler, who did not buy copyrights or deal with authors directly. His presence or absence, or his implied testimony, will take us nowhere near the rightful owner of a given work.
In a very interesting chapter entitled 'Principles of Author-Attribution', which is perhaps the heart of their book, Furbank and Owens set out a number of rules which ought to govern these matters. Most of the guidelines are sensible and enforceable; the authors are surely right to question here Moore's confident assertion that Defoe had a style so distinct that it was 'recognisable by its rhythm alone', and ideas so individualistic that 'they set Defoe apart from any other writer who has used the English language.' In addition, there is an interesting discussion of what the authors call 'the fallacy of provisional ascription'. They contend that 'the positive activity of attribution counts for more than the negative one of refusing or rejecting attribution ... It is far more desirable that a false literary attribution should not be made than that a true one should be made.' In other words, once items get into the canon, they are fearfully hard to dislodge. This is true, but the problem will not go away, because we are faced with a situation where the ascriptions have gradually built up, and we must decide which to exclude.
In the past I have suggested, a little crassly perhaps, that we need a rationale of de – attribution. This might seem to be proceeding from the wrong direction, if we accept the common-sense view of Furbank and Owens that the onus is on the proposer to come up with irrefragable arguments, not for the sceptic to prove a negative. But attributions will go on being made, and the realistic course is to have in place a system for sorting out the wheat from the chaff. One general rule I attempted to formulate in dealing with the subject may conflict with the authors' sense that we are dealing with a case of 'Defoe against the world', or as one might say, Defoe aut diabolus. This is not the invariable situation, as I have indicated, and anyway the value of some definite control is not fully recognised in the Furbank-Owens principles. The rule was couched in an attempt to challenge Norman Ault's procedures when he allocated the poem 'Bounce to Fop' to Pope, on the basis of indubitable parallels with other poems by Pope, without examining equally glaring parallels with Swift. This is the way the argument ran:
The claim which I am advancing is not that Ault's conclusions can be definitively set aside. It is rather that his methods involve a suppression of some of the evidence, and rest on a basically unsound mode of attribution. What has been termed the 'differentiative power' of authorial fingerprints exists only where the same intensity of effort has gone into their detection in the case of rival candidates. It surely ought to be axiomatic that any technique of investigation will lack cogency if tests (of word frequency, say) are applied unequally between possible candidates for authorship. If such a principle were generally recognised – as I fear it is not at present – then Ault's procedures in imputing work to Pope would automatically come under suspicion.
Such controls are not as hard to obtain as the defeatist line of Furbank and Owens would suggest. We have some sort of fingerprints for writers such as Abel Boyer, George Ridpath and Thomas Burnet; even such a nameless name as Stephen Whatley, too obscure even to make it to the Dunciad, can be plausibly associated with several pamphlets, whilst Arthur Maynwaring is emerging from the shadows as a regular antagonist with the major authors of his day. Even where no such individual can be nailed for the disputed attribution, it is an advance if one can produce evidence equal or superior to that which has been used to link the item with Defoe – for that in itself is a definite contra-indication, much more valuable than mere blanket cynicism about the activity of attribution in general. If we are de-attributing, we need such particular techniques and procedures.
The section which Furbank and Owens devote to stylometry – as is proper in an appendix – raises some important issues which have not surfaced in the main text. The authors consider the work of A.Q. Morton as representative of some current quantitative approaches to the problem of attribution. If anything, they are a little gentle towards the undue confidence which these methods can breed when one moves from the science of statistics to the quasi-science of statistical interpretation, as, for example, in accepting the very inconclusive evidence that authors do indeed possess 'unconscious verbal habits' which persist through their works. In principle, this is a most unlikely theorem: there is nothing that writers are less unconscious of than the position of adverbs or the repetition of a syntactical pattern. Besides, if one writes a review for the LRB one uses a different sentence-length from the length one uses in the TLS. If, per impossibile, the New York Review of Books and the Sun were to ask me to review very similar books tomorrow, the outcome would be very different in terms of verbal constructions, vocabulary and paragraphing, even before sub-editors got their hands on the copy. Again, one writes differently in reviews as compared with essays, and differently again in books. With a writer as versatile and widely active as Defoe (even the disintegrators of the canon will leave that unaffected), it is hopeless naivety to assume that he will preserve absolutely distinct habits over four decades in a variety of forms. One of the troubles about 'favourite phrases' is that they change over time – one gets a sudden fondness for 'really' and abandons at an arbitrary moment 'actually'. Considerations of euphony may override all previous practice with regard to sentence-shape. The 'second nature' which dictates such choices as that between 'while' or 'whilst', as Furbank and Owens describe the matter, is surely the kind of internalisation which professional authors resist. But does anyone ever write 'while' or 'whilst' without being aware at some level of what they are doing?
All in all, The Canonisation of Daniel Defoe is a considerable work; it makes many important points and will need to be consulted by all serious students of Defoe. The authors have provided a host of seasonable cautions, but they have not perhaps helped us as much as they might have in deciding just which items will have to go. On a previous occasion, they have given very strong grounds for rejecting Moore's # 399, that is, A Vindication of the Press (1718). Other detailed case-studies along these lines are now urgently needed, and in this undertaking sensible use needs to be made of controls where they can be located. Wholesale unargued de-attribution could be almost as incautious a proceeding as its opposite has been.
Donald Bond's splendid edition of the Spectator first appeared in 1965, and has been standard since then. Its reissue, along with the first proper modern edition of the Tatler, coincided with Bond's 90th birthday. The earlier journal is slightly more tentative, and patchier in its literary interest: but every now and then we see 'The Rape of the Lock' unwinding before our eyes: as in the inventory of a beau's possessions (# 113), and above all in # 146:
Nay, I have known a Muff, a Scarf, or a Tippet, become a solid Blessing or Misfortune. A Lapdog has broke the Hearts of Thousands. Flavia, who had buried Five Children, and Two Husbands, was never able to get over the Loss of her Parrot. How often has a divine Creature been thrown into a Fit by a Neglect at a ball or an Assembly? Mopsa has kept her Chamber ever since the last Masquerade, and is in greater Danger of her Life upon being left out of it, than Clarinda from the violent Cold which she caught at it.
There is a pre-echo of the Essay on Man in # 119 ('We descry Millions of Species subsisted on a green Leaf, which your Glasses represent only in Crowds and Swarms ...'), and of Swift's 'rhapsody' on poetry in # 229:
The whole Creation preys upon itself: Every living Creature is inhabited. A Flea has a Thousand invisible Insects that teaze him as he jumps from Place to Place, and revenge our Quarrels upon him. A very ordinary Microscope shows us, that a Louse is it self a very lousy Creature.
At times we are almost into Johnsonian thinking: 'A Man who confines his Speculations to the Time present, has but a very narrow Province to employ his Thoughts in' (# 152).
It is well-known that the Tatler started off with some uncertainty about its role. In the early months especially there are news items oddly jostling with social chatter, and it tends to be just news, not commentary about the news. The noise of the Sacheverell brouhaha barely penetrates the text. Various wars are reported in a desultory way: there is the long-running Spanish Succession affair drifting on in the Low Countries, with Marlborough's less heroic triumph at Ramillies and the siege of Tournai, whilst Stanhope prospers temporarily in the Peninsular campaign. Stray stories keep emerging about Charles XII and the Northern War; ultimately the King is defeated at Pultava and heads for exile at Bender. Here, for once, Bond's exemplary touch fails him, when he annotates: 'Charles XII fled south to Bender (modern Tighina, in Bessarabia).' This information appears to derive from about the tenth or the 11th edition of the Encyclopedia Britannica, and would surprise the inhabitants of modern Bendery in the Moldavian Socialist Republic. But elsewhere the editor tells us just enough of what we need to know, with excellent coverage of the proverbs that contribute distinctively to the style of both the principal writers. With its pronounced concern for the state of the language, witnessed by Swift's famous paper # 230 on corruptions in style, the Tatler calls for more linguistic than historical awareness on the part of its editor, and it gets what it deserves here.
Students of paratextual matters could have a field-day with both journals, with their battery of framing devices – datelines, locating formulae such as 'From my own Apartment', letters and salutations, mottoes, editorial 'advertisements' and much else. It is a striking fact that we can read the series of papers straight through today, though there is no sustained fictional line in the Tatler – merely an assumption of the censor's role, without even the club setting vestigially present in the Spectator. The authors make a virtue of this putative limitation: where Montesquieu feebly pretends to a mysterious 'chain' in Les Lettres Persanes, not immediately visible to the naked reading eye, they create their own continuity out of a tone, a set of shared assumptions, a manner of proceeding. For the Tatler's sun, like that of Heraclitus, had to be relit each morning, or rather every other morning. We read on, sensing the passage of time, but aware too of the frozen quality of the series, its immovability and its unchangeable pattern. 'The history of ideas,' says Foucault, 'usually credits the discourse it analyses with coherence.' In the Tatler, discourse is as discourse does, day after day, week after week. The gaps are out in the open, intervals between the dates proclaimed in the masthead. Coherence is reduced to ordinal numbers, and nothing can break a chain which limits itself to that mode of sequentially.
Of course, Addison and Steele have been victims of their own success. We cannot see their influence, because it is everywhere. We look for a world we have lost, and find that in essentials we are in our own vaguely tolerant, more or less humane, unpushily civilised and comfortably sceptical surroundings. We mistake clarity for naivety, and misconstrue the finesse of allegory (as in Tatler # 161) for crude proto-symbolism. Some of the reasons for this state of affairs have been brilliantly explored by Peter Gay, in an essay prompted by the original publication of Bond's Spectator, which appeared in Encounter in 1967, and there's a thought – how many young people today could easily see how strong the literary pages of Encounter were in its heyday? Gay sees the Spectator as the voice of a new secular culture, bent on taming the aggressive energies of the 17th century in the service of a viable modern way of living: 'a great campaign on behalf of civilisation, appropriate to [Addison's] own time if not to ours'. The famous piece on the Royal Exchange (Spectator # 69) becomes an emblem of peaceful human interaction. This is very well said, only it sends Addison and Steele further back into the lumber-room of irrelevance. It is the lost causes of history which excite modern attention – Jacobitism, Mesmerism, astrology. The periodical essayists were too much at home in their world to enter our consciousness; they inhabited a cosmos which was God's playground, and we are interested in the discomforts of the past, not its existential certainties. It follows that the Tatler and the Spectator have paid for their monumental success with monumental failure in our day. Our almost-instinct about them has proved almost true, because we like to see our questions prefigured in history, never our answers.
Pat Rogers, a professor of English at the University of Bristol, is the author of a study of Robinson Crusoe and of Hacks and Dunces: Pope, Swift and Grub Street.
Oddity's Rainbow
Puellilia
More by Pat Rogers

redpajama_set_name: RedPajamaCommonCrawl


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I spent some personal time with my mom this past Tuesday. We decided to go for a walk around Steveston just to catch up with life, school, work and everything in both our lives. During our little afternoon excursion, a conversation came up where I asked her how she ended up finding her first Lower Mainland apartment in 1997 when she moved here with myself. From there forward she proceeded to tell me the whole story of her struggle in Vancouver for the first few years.
My mom has told me this story so many times, but I always enjoy hearing it each time. Every time she tells me all the things, she's been through in her lifetime, I feel that it grounds me and makes me put everything into perspective. This woman is the prime example of how sometimes you can only rely on yourself to get ahead in life. I always say that now, as an adult, if I can be half the person that she was and just try my best to make her current life as smooth as possible, I will be happy.
Moms are incredible. The love they have for their children, family, friends and themselves is like something else. I appreciate all the mother figures that I've had throughout my life. Without them, I wouldn't be the person that I am now. Appreciate your mom every day, they brought you into this world and you only have 1.
This entry was posted in Making Contact and tagged Love, love your mom, mom by Elvin Sisco. Bookmark the permalink.


text:
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* !!! Please do not edit this file !!!
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*/
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	/*Bbs - Descr: PEM-encoded client certificate Default: <nil>
*/
	Bbs *Bbs `yaml:"bbs,omitempty"`

	/*DropsondePort - Descr: local metron agent's port Default: 3457
*/
	DropsondePort interface{} `yaml:"dropsonde_port,omitempty"`

	/*Nats - Descr: Password for server authentication. Default: <nil>
*/
	Nats *Nats `yaml:"nats,omitempty"`

	/*DebugAddr - Descr: address at which to serve debug info Default: 0.0.0.0:17009
*/
	DebugAddr interface{} `yaml:"debug_addr,omitempty"`

	/*SyncIntervalInSeconds - Descr: Interval to sync routes to the router in seconds. Default: 60
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redpajama_set_name: RedPajamaGithub


text:
COMIC CON: NOCTURNE COMICS STUDIOS TO PUBLISH BUTT UGLY MARTIANS, HERCULOIDS, ADVENTURES OF THE LI'L WUTANG CLAN AND HEATHCLIFF COMICS
NOCTURNE COMIC STUDIOS TO PUBLISH BUTT UGLY MARTIANS, HERCULOIDS, ADVENTURES OF THE LI'L WUTANG CLAN AND HEATHCLIFF COMICS.
Full story after the jump.
Marvel Announces New AR Moments In Classic Comics
May 13, 2013 June 14, 2013 Luke Herr	Leave a comment
In a PR message released today, Marvel announced that they would be adding in AR moments in new printings of classic collections starting with new hardcover versions of Secret Wars, Nextwave, Spider-man and Captain America.
"Honestly I think the AR boxes are really great for bringing people into the comics," said Joe Quesada. "It gives the reader something to do and it stands out on the page enough so you can't ignore it. And we got a brilliant team together to come up with all sorts of content for the new books."
ERAS Fung – Building A New Story Via Kickstarter
April 4, 2013 April 4, 2013 Luke Herr	Leave a comment
I am doing another Minicomic Kickstarter with artist Brian Wolf and then former Nerdcenaries contributor Ziah Grace and Nick Rockel are doing a comic as well. I wanted to make a post about it to go more into what the story I am writing, ERAS: Fung is going to be about.
The first ERAS story, ERAS Parrish is something I'll totally regard as a failure on my part. I didn't get a second opinion till it was done and that opinion hated it. Parrish ended up focusing too much on a dramatic story with issues of masculinity and white knighting that suddenly changed into a horror story with monsters in it in the last 2 pages. Not very good on my part – the balance was off like a seesaw with a boulder on one side.
With ERAS Fung I realized I needed an actual story to wrap the issues around, instead of issues to base a story on. I needed to lay the bricks before pouring the paint. Luckily the story came more easily since the artist wanted to do the drug/murder mystery based on Dr. Fung and my loose pitch of that.
Internet Trolls To Write New Marvel Series
After all of the attention gained from recent social media meltdowns with creators Dan Slott and Rick Remender that resulted in more attention coming to the books, Marvel Comics announced today that they'd just be hiring internet trolls to write series in a press release sent out this morning.
Marvel Assigns Fred Phelps To Write "Adventures Of Spider-man"
February 13, 2013 February 13, 2013 Luke Herr	Leave a comment
Almost a week after DC announced the controversial choice of hiring famed bigot Orson Scott Card to write the digital first series "The Adventures of Superman", Marvel comics has responded with their own horribly controversial creator. In a press release sent out today, Fred Phelps of the Westboro Baptist Church has been announced as the writer for a new series called "The Adventures of Spider-man."
KABOOM Cutting Comic Cover Rates?
January 7, 2013 January 7, 2013 Luke Herr	Leave a comment
Rumors have started circulating that the price KABOOM is paying for Adventure Time covers is around $200. While this may seem like a reasonable amount considering that is a more or less standard page rate for artists – it is honestly very low for covers, especially for a company that not only is doing multiple printings of the comics (Adventure Time #1 and #2 did extra printings) but is also additionally reprinting covers and getting full rights to the work.
Would I Date The 50 Comic Characters You Most Want To Have Sex With?
November 29, 2012 December 1, 2012 Luke Herr	Leave a comment
So James Gunn, the still to be director of Guardians of the Galaxy had a poll about the 50 Comic Characters People'd Want To Have Sex With. Not in and of itself horrible – there are men on there, there is a person of color (non-alien), one LBGT character and then… well, then Gunn kind of was himself – a nasty homophobic misogynist who riled up a lot of people. But I'm going to approach the list different but when it comes to these characters, I want to discuss whether I'd have chemistry with the characters or not before even thinking about having sex. Whether I think they'd get along which for me is ultimately more important. And even though I am a straight guy, I'll consider the guys too.
Nerdcenaries has the scoop! Superior Spider-Man revealed!
November 26, 2012 November 26, 2012 Ziah Grace	Leave a comment
In a shocking turn of events, online-embedded Nerdcenaries writer, Ziah Grace, has gotten some breaking news on the identity of the new Spider-Man set to debut in January's Superior Spider-Man #1. The identity is under the cut, and SPOILERS SPOILERS SPOILERS.
C'mon guys. Listen to the fan-favorite blonde girl. We don't have enough of those. (Also, quick aside, I am shocked, SHOCKED, that I used this joke/picture before fellow writer, Arielle.
Fake Geek Girl Spotted In Seattle
November 16, 2012 November 16, 2012 Jon Hex	Leave a comment
The Fake Geek Girl, long suspected to exist but never seen, was photographed by an amateur cryptozoologist as the elusive Girl was leaving a Simon Helberg signing at Gold K Comics. Clad in what some witnesses believe was a Target Batman tee shirt and others a Wal-mart Avengers hoodie (though most agreed she had no idea when those were created), the mysterious community interloper allegedly gushed over Helberg's show and how much she "appreciated it for making geek cool." The Girl was said to have been "such a geek in school" and "really liked books and stuff."
Max Rittlin, the cyrptozoologist who took the picture, did not speak to the Girl in question but had her pointed out to him by a friend who overheard other people talking about her. "I was like, "Yeah, right, no way she's faking," but my bro was all, "Man, she didn't even know who Flash is." So I took out my phone and copped the shot as fast as I could."
Sharif Atwater, the manager at Gold K thinks the girl in the picture wasn't the Fake Nerd Girl at all. "That looks like one of my regulars, but it's too blurry. Anyway, everyone was having a good time. I don't know why people are worried if she was really into comics."
Whether the girl in the photograph was really the infamous Fake Nerd Girl can't be 100% proven. But if she does exist, maybe she can answer the most important question her existence poses: How does her level of interest affect anyone else's enjoyment?


text:
Partnership Time: Companies and Industries Working Together to Overcome the Crisis
The Russian Economy: New Objectives and Horizons
Pavilion G, conference hall G2
In partnership with Severstal
Geopolitical tensions and the ensuing economic problems have put businesses from a wide range of sectors of the Russian economy at risk. Surviving today is only possible by uniting and acting together. Everyone has their own problems, but the ways out of them may be similar. Suppliers can help clients and vice versa. Businesses from a wide range of sectors can use each other's experience to find the most unexpected solutions, and the relevant departments can act as coordinators of this common work. What can companies from different sectors offer each other as a solution?
Yakov Sergienko, Managing Partner, CSPU
Yakov Sergienko
Managing Partner, CSPU
Panellists
Julia Gadliba, Chief Executive Officer, Chairman of Executive Board, Renaissance Insurance
Valeriy Ermakov, Vice President, Corporate and Government Segments, Rostelecom
Konstantin Parshin, Vice President, Executive Director of IT Cluster, Skolkovo Foundation
Alexander Shevelev, Chief Executive Officer, Severstal
Julia Gadliba
Chief Executive Officer, Chairman of Executive Board, Renaissance Insurance
Valeriy Ermakov
Vice President, Corporate and Government Segments, Rostelecom
In 1991 he graduated from Tambov Institute of Chemical Engineering with a degree in 'Design and Technology of Radio-Electronic Devices'. Upon graduation he worked as a teacher at the Department of Automated Systems and Devices.
His total work experience in telecommunications is over 26 years.
Valeriy Ermakov started his career in the industry in 1994 as telecommunications engineer at Tambov Telecommunications, where he worked up to Deputy CEO in 6 years.
In January 2001, he was appointed CEO of MSS-Povolzhye – a MegaFon subsidiary in the Volga Federal District. From April 2009 – COO, MegaFon.
From October 2013 to April 2015 he was CEO of Transas Group.
In September 2015, Valeriy Ermakov was appointed Vice President for Corporate and Government Segment Business of Rostelecom.
An efficient team was formed under his leadership. Successful transformation of the segment was performed, which resulted in growth of business indicators for three financial years in a row: 2016 – 0.5%, 2017 – 3.5%, 2018 – 4.5%.
The SMB business line has been designed and launched at Rostelecom, including roll-out of a product portfolio and package offer for entrepreneurs.
High pace of business growth has been achieved at large offices – Central and North-Western Regions. A new line of services has been launched at Rostelecom, including information security, CCTV, MVNO, etc.
Valeriy is married and has two daughters.
His hobbies include history and sports.
Konstantin Parshin
Vice President, Executive Director of IT Cluster, Skolkovo Foundation
Graduated from the Faculty of Mechanics and Mathematics at Moscow State University in 1994 and received his MBA from AIBEC in 2002.
Before Skolkovo, he served as deputy general director, director for new business development at ITAR-TASS, where he was responsible for the development strategy within the system of state administration, NGOs and big business, organized "from scratch" development and launch of a startup — the TASS-Business media and analysis product. Previously, in 2012–2014, at ITAR-TASS, he was responsible for key projects as part of the comprehensive reform and "reset" of TASS, which ensured revenue growth above the market rate. Prior to TASS, in 1996–2012, he held various positions at Xerox, including head of Xerox Eurasia in Moscow, vice-president for industry marketing in developing markets (UK), and general director of Xerox Israel. He has received a Commendation from President Vladimir Putin.
Alexander Shevelev
Chief Executive Officer, Severstal
Alexander has been CEO of SVEZA Group, a subsidiary of Severgroup, since 2016. Prior to that he held the position of CEO of Severstal-Metiz (a part of Severstal) from 2013 to 2016. He started his career at Severstal-metiz and Severstal's Cherepovets Steel Mill as a metalworker in 1997. Alexander graduated from the Vologda Economic Academy with a degree in Mechanical Engineering and from the National Technical University in St. Petersburg where he mastered economics and management. Alexander also holds an MBA from the Northumbria Business School, Newcastle, UK.


To transfer Panasonic AJ-PX800 H.264/AVC MXF recordings into Premiere Pro CC, is that just like how to convert MXF to MPEG-2 MPG, which we all know the best one for Premiere Pro CC. Fortunately,Pavtube MXF Converter for Mac is such a nice assistant for us to make Panasonic AJ-PX800 H.264/AVC MXF recordings accepted by Premiere Pro CC. For Windows version? How do you think of that?
iMovie won't recognize GoPro HD MP4 files on Mac?
How to Transfer TiVo shows to Android Tablet?


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text:
Off-Site London: Art as a lived experience – reflections on "Condo", by David Goldenberg
This hybrid text, part review and part speculative essay, is a response to 'Condo', a complex of eight exhibitions, informal discussions, and the ambition to challenge how to stage art in London.
I prematurely understood Condo as a festival, which at least two of the galleries call it, others an art fair. To call the event a festival sounds far too grand. It doesn't have the feel of an art fair or biennial. There is no information or press release offering a concept, theme or curatorial program, and the focus is on galleries themselves rather than the artists. No readymade term describes Condo. Therefore what are the criteria to review it?
Occupying equivalent space to the exhibitions is the website listing galleries and addresses of the London venues and exhibiting artists, although it is not clear how to find information on the artist's work. You need to spend as much time looking through the website as going around the exhibitions.
In the galleries you are confronted by artworks, and again, no information about the context.
This absence triggers basic questions to build a picture of Condo. At the very least, we can say it is a city-wide event, if only because it literally is distributed across London. However, can you strip away what is normally expected from a city-wide event such as this, and present an event made up of galleries? Can it be that straight forward? Is it legitimate to strip away content and rationale of embedding art in a city, and make an event based purely on the experience of travelling around London? I am not raising these questions because of preconceived ideas of what I am expecting, but because of the sheer physical effort of traveling to see the entire project spread out across twenty miles.
The level of complexity is raised further when the minimal information informs us that each venue hosts international galleries, who present one or more of their artists. Given the quantity of artists and galleries involved, how is it possible to integrate so many works into a satisfactory whole? Just on the practical level, the logistics and coordinating skills to bring this off is considerable.
The galleries and the galleries they are hosting appear as a series of clusters: two galleries in East London – Supplement in Bethnal Green, hosting Truth & Consequences, High Art and Gregor Staiger and Carlos/Ishikawa in Mile End Road hosting Essex Street, Mathew, Freymond-Guth; three galleries in central London – Rodeo, hosting Callicoon Fine Arts and Southard Reid in Soho, hosting Jeanine Hofland and Frutta and Project Native Informant in Mayfair, hosting Antenna Space and Société; then you come across Chewday's in Lambeth, hosting Kraupa-Tuskany Zeidler; before you come across the next cluster in South East London – The Sunday Painter, hosting Jaqueline Martins, Koppe Astner and Seventeen; and, Arcadia Missa, hosting Deborah Schamoni in Peckham; International galleries from Berlin, Glasgow, Paris, Amsterdam, Rome, Shanghai, New York, Zurich, Geneva, Sao Paolo, Munich.
Under different circumstances, this could be seen as a global project or market. Each gallery is small to mid-scale or laboratorial, as opposed to the new gallery/museum with their new global artist's that predominate London today. Many of the works are small scale and treated as modular units so different works are integrated together to create new patterns unifying the presentation of formats, materials and styles of works in the gallery space, which seemed to eradicate difference and content. In that respect, many of the works are intimate, establishing a sense of uniformity across the venues.
There is a lot of information to assimilate, especially when traveling through the website, although what you are doing, when randomly straying from one gallery website into another, is mentally making your own exhibition.
Whether this random assembling transfers to the experience when you go around the galleries is unclear but probable. There is a lightness of touch and sensitivity to the information and presentation of the works. The works are effectively displayed and the quality uniform throughout, by concentrating on the basics and avoiding spectacle paid off.
Given that the project avoided conceptualisation and challenges to art conventions, instead concentrating on the viewing experience of the audience leads to the justification in sensing that one of the primary aims is refocusing on art in the gallery, and workable artistic strategies by gallery artists.
This is art you would expect to find in a gallery? And if this is the case, what is the substance of Condo's challenge?
However, this lack of presenting existing templates of information doesn't necessarily amount to anti-intellectualist or anti–conceptual methodologies, instead we could see this as an erasure of those models and over-writing of our experience to provide breathing space for something else.
We can see this exercise as a form of reinvention of what a gallery should be doing today and how we are to understand the role of art , the quality of that art, and how to process it.
There are similar trends towards the reinvention of orthodox platforms in Museums, and you could sense this in last year's Venice Biennial, along with the role of theory, art and politics especially around e-flux. Despite appearances, how a biennial structurally takes place - or integrating art into a city - hasn't really changed. That is not to say the reinventions aren't convincing. And probably constitutes no more than repackaging conservative forms and platforms, so that we are left with the material limitations and restrictions of the exhibition format, which appeared to be the message projected by last year's Venice biennial.
But how do we determine whether this will lead us to merely becoming dumb consumers of art or whether we can use this moment to learn from these disruptions to normalised engagements with our received cultural landscape?
How do we order, process and organise material and information in our minds if there isn't a plan or overarching concept?
Are we left with a chaotic haphazard manner of organising our thinking and experience? Or can we find the confidence and the sensitivity to our own thinking/feeling processes to build up and assemble new patterns of thinking and new imaginaries?
(In many respects this is something we are already doing when we surf the net and assimilate random fragmented bits of information, ideas and visuals into constant changing unpredictable configurations.)
Arcadia Missa, Carlos/ Ishikawa and project native informant took up this thread, by focusing on the blind spot in presenting groups shows, the exhaustion and poverty of options in curating works, whether individual artists works in individual spaces, or grouped in one space that generates a new unknown work, a weakness repeated in biennials, museum shows, gallery shows today. It seemed to me that those presentations that re-examined this problem are the most interesting.
Finally this text, juxtaposed with captured images from the exhibitions and website, is my answer to the challenge posed by Condo.
David Goldenberg
(Hitchin, Hertfordshire, UK, 1956) is an English conceptual artist.
Artists Clothes at Carlos/Ishikawa: Darja Bajagic, Ed Fornieles, Eloise Hawser, Helen Marten & Magali Reus, Jack Lavender, Korakrit Arunanondchai, Lloyd Corporation, Marie Angeletti, Oscar Murillo,
Pilvi Takala, Puppies Puppies, Richard Sides, Stuart Middleton, Victoria Colmegna
Installation: Greatest Hits by A.L. Steiner & Just Enough Violence by Phoebe Collings-James at Arcadia Missa and screen capture of their website
The Sunday painter, Bob Chavasse, The morning after the night before, 2016. Inkjet on plasterboard.
Laura Aldridge, Display – scape no2: BRICKwork – A misleading, whole new way to do things (or so they say), 2015. Ceramic and metal. [Foreground] Laura Aldridge, Not my elbow (X). 2016, Rice, Glass and ceramic.
THAN HUSSEIN CLARK Installation shot, Mathew gallery at Carlos/Ishikawa
Work by Fred Lonidier, presented by Essex Rd at Carlos/Ishikawa
www.condocomplex.org
Screenshots made by David Goldenberg


text:
Heartland Humane Society: 7 Years of Progress, More Saved Animals
"Not to hurt our humble brethren the animals is our first duty to them, but to stop there is not enough. We have a higher mission—to be of service to them whenever they require it."
-Saint Francis of Assisi
A town's Humane Society can tell a person a lot about the town itself. It can tell you if its citizens care about animal welfare. It can tell you how people feel about animals in need. In many ways a Humane Society is a barometer of the humanity of its community. The Heartland Humane Society (HHS) tells me a lot about Corvallis. HHS is a comprehensive resource that does not exist in many towns, and it is a safe, caring alternative for lost or unwanted pets. HHS services over 2,000 animals per year, and with over 500 active volunteers, its reciprocal relationship with the community is what makes it such a unique Humane Society. Each day community members come to HHS to help walk dogs and give animals affection and open play, while veterinarians from around the county – including OSU – take turns caring for sick animals and performing spay/neuter surgeries, and in some cases life-saving procedures. Animal Crackers, the pet supply store on Kings, also offers itself as a satellite adoption center for cats.
HHS is an open admission facility, which means they will not turn any animal away – regardless of situation (abandonment, relinquishment, health, temperament, or found stray), and they service all of Benton County. This is distinguishing because many shelters are able to choose which animals they accept based upon space, health, or adoptability, and many shelters restrict their admissions based on city boundaries – not county.
HHS is 90 percent self-funded through donations, volunteer services, the Heartland Thrift Store, and fundraising. Its foster care program is one of the ways in which volunteers make a huge difference in the lives of HHS animals. Foster care is for animals that are either too infirm or too young to stay at the shelter; last year over 150 volunteers helped care for 689 animals that were prepared for adoption, but unable to live at the HHS facility. They also have a hospice foster care program for animals that cannot be cared for by their owners and would otherwise have to be euthanized.
HHS is also home to a variety of animal care camps and educational opportunities. The Humane Education program works with children aged preschool to college, and collaborates with OSU, 4-H, Children's Farm, Talented Animals, local schools, and Birds of Prey. There are also on-site programs for kids. The "Kindness Kids Club" and "Circle Kids Club" are volunteer opportunities for youth aged 8 to 15 where they can learn about animal care and socialization, and "Camp Catnip" is a spring and summer break camp that offers kids hands-on education about animal topics such as beekeeping, dog training, and farm animals.
HHS has been at the SW Twin Oaks Circle location for 13 years, but with so many animals to service it is already beginning to outgrow the space – this is where the foster care program is especially critical. Also, because of its open admission policy, HHS does occasionally have to make the difficult decision to euthanize an animal that cannot be adopted – usually these reasons are related to health or behavior/temperament. Thanks to its commitment to animal welfare and all of the dedicated volunteers and doctors in our community who support HHS's efforts, the rate of euthanasia has declined steadily over the past several years, and the save rate has gone up from 50 percent in 2005 to 89 percent in 2012. HHS continues to move in the direction of its goal to help all the animals that come through the door to find their "forever home," and as a community that supports these efforts, residents can become a part of the solution. For more information about how to help, visit http://www.heartlandhumane.org.
In my hometown there was a euphemism among parents about misbehaved dogs and household pets that were no longer the center of a six-year-old's universe. With knowing nods, you'd hear dads talking on the soccer sidelines: "That dog/cat/gerbil, went to go live on a farm where there is more room for him to run around. He'll be happier there." At the time it seemed plausible since there were a lot of farms in our town, but somehow these farms were always nameless, far away, and prohibited visitors. Among the maladjusted miscreants on my street were "Daisy" – a Dalmatian escape artist, "Princess" – a cat eating Chow mix, "Mittens" – a curtain shredding tabby, "Boxer" – an ill-tempered goose, and "Baloo," my beloved giant chinchilla that I insisted run free range around the house, and refused to let be outside during winter.
It was years later when a neighbor's older brother was feeling spiteful during a game of marbles and explained to the younger kids that there was no "farm." He didn't elaborate, but the implication hung over that summer afternoon. The youngest of us speculated later over dripping popsicles:
"If there's no farm, where did they go?"
"Your dad has a gun! Did he shoot your dog?"
"No way! What would he have done with the body?"
We slowly met each other's gazes at the thought of Mr. McAllister digging pet graves in the middle of the night.
I regret the casual ignorance of animal welfare that I think was cultural, and not limited to my small town back in the 1970s. It still happens that people don't factor in breed before they get a dog, for example. When my husband and I were interviewing to adopt a Hound-mix and a Pointer-mix at the Boulder Humane Society, we practically had to show them our muddied hiking boots to prove these dogs would not be left inside all day. It's the first we had heard of a "Temperament Match Interview," but once we saw how much exercise these dogs needed it made perfect sense, and I recalled Daisy and Princess, who spent most of their days languishing in living rooms. I will never know what destiny these beloved pets met back then, but that is what makes me interested in what I can learn about my community by visiting its Humane Society. Thank you Heartland, for being a voice for those that cannot speak, and for striving towards the higher mission to be of service to animals.
By Maria Murphy
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Getting a college education is one of the most important things that you need to think about as you go through your life. It can open a lot of doors (and windows!) to various opportunities in the professional world and it will also help you understand so many things about different subjects, events and experiences. It is true that knowledge is power. You will be gaining a lot of information about the world thus, making you more diverse and flexible. This will be your ticket to success and this will also serve as your weapon against the harsh environment of the real world.
If you really want to go into college, do not let anything and anyone stop you from doing it! If you have kids, a job or a busy lifestyle, why don't you just study college at home? There are certain universities and community colleges that offer home classes for a variety of courses. Read on to learn more.
Assess your goals. Start by thinking about the subjects that you like most. Make sure that your goals are very clear to you. Knowing the courses that you like is easy. However, it is important that you know why you want to take them. Unclear goals can only result to a lot wasted time, money and effort. Avoid this by acknowledging your purpose of studying. Make your choice now and be responsible about it!
Look for an online university. Go online and start looking for various schools, colleges and universities. Many scammers are now lurking in the virtual world so make sure that you are very careful at all times. OnlineCollege.org is a great site that has a list of the top ten accredited online schools in the United States. It would be best if you start your exploration at this website.
Start applying. As soon as you have chosen your online school, register on the school's website. All you have to do is to fill out all the blank fields that you see. You will be asked to select your degree, area of study and program. As soon as you click on submit, you will be given specific instructions about the following steps. These tips will give you a lot of helpful information on how to go about your online college application process.
Create a schedule. After successful enrolment, get a big calendar and start writing your weekly and daily schedule. It is important that you learn how to use your time efficiently to achieve maximum results in everything that you do. Always have time to study every single day and never forget your goals.
There you have it! Carefully follow these effective steps on the onset of your new phase in life. Twist it up a little bit by studying in different places like the local library, the coffee shop at the corner or even the park! It is crucial that you stay focused and that you make the time to study. This is a commitment that needs be reinforced all the time. If you have any questions, do not hesitate to ask your school or remote advisers. Good luck!


☆★Want to input iPhone emotion symbols on the Android smart phone?
The App""iPhone Emoji Keyboard"" can help you to send a beautiful emoji to your friends easily.
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text:
Putin claims Victory in Mariupol
On Thursday morning, Russian forces claimed victory in Mariupol.
The city, which had a population of over 430,000 before the war, has been under constant siege since the invasion. Water and gas have been cut off in the city, and there have been wide reports of war crimes in the area. Russian forces have managed to take most of Mariupol, and now control 80% of the Donetsk region. As their hold on the city tightens, it is reported that over 120,000 civilians are still attempting to flee. However, evacuation buses are few and far in between, and due to the presence of frequent military checkpoints, an evacuation convoy that would usually arrive in 4 hours, now takes a full day.
This comes as a wider refugee crisis unfolding in Ukraine. According to the UN, in addition to the 5 million people who have left the country since Russia invaded, over 7.7 million people are displaced within the country, fleeing from cities like Mariupol, where it is estimated that 90% has been damaged or destroyed as a result of the fighting.
Last Remaining Holdout
Despite claiming victory, Russian troops have not been able to gain complete control of the city. The Azovstal steel plant remains a Ukrainian stronghold, with 2000 Ukrainian troops remaining in the site's 24km of tunnels and bunkers. Although a complete siege has been canceled (likely because Russian forces would be unable to take it, according to the office of the Ukrainian President), Putin has ordered a blockade of the plant so tight that "not even a fly can escape". According to Britain's defense minister, Russia's attempts to take Mariupol are part of a wider effort to claim a symbolic victory ahead of the country's Victory Day on May 9th, celebrating its defeat of Nazi Germany in WW2.
The West Responds
As the fighting continues, the West is boosting financial and military aid for Ukraine, as well as increasing the scale of sanctions against Russia. On Thursday, the US announced a further $800m of aid to Ukraine. This comes as Denmark pledges another $90m in Ukrainian aid, and as Spain sends 200 tonnes of ammunition and military supplies to Ukraine. Meanwhile, the UK has announced a new package of 26 sanctions targeting military generals, individuals, and companies that are aiding Russia in the war.
The Future of Mariupol
As of this moment, the future of Mariupol is unclear. Reports of who is the victor are conflicting, with both sides claiming to control parts of the city. What we do know is that in deserted streets and destroyed apartment blocks, the Russian and Ukrainian militaries continue their fight over the fate of the once bustling metropolis. Meanwhile, the rest of the world watches on anxiously, waiting for their next move.
by Krzysztofw
Tell us what you think on Instagram @basis.baismag
Images from Unsplash
https://apnews.com/article/russia-ukraine-putin-kyiv-business-europe-f0e1cd893715eda1e6bef696d9c47db3
https://www.bbc.com/news/live/world-europe-61157670
https://www.france24.com/en/europe/20220421-live-russia-pummels-last-ukrainian-defenders-in-port-city-mariupol
https://www.dw.com/en/ukraine-putin-cancels-plans-to-storm-mariupol-steel-plant-live-updates/a-61529869
All, News section
The bready: Garlic flatbread
Technologies x Human Rights: repercussions, downsides, and benefits


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Here's how to make sure your campaign is a blockbuster.
Often, a make-or-break element of a successful crowdfunding campaign is the work you do before you launch. The strength of your idea could very well make it go viral, but for the majority of fund seekers, they've done months and some cases even years of planning before they go to Kickstarter or Indiegogo.
In 2013, Canary, a company that makes smart home-security systems, had an Indiegogo campaign with a goal of $100,000. It ended up raising more than $1.9 million. Co-founder and CEO Adam Sager says the team viewed the crowdfunding campaign as their one chance to get it right. But he says that it was important to him to be both assured about the potential of the product, but realistic about the progress at the same time.
Hiral Sanghavi and his wife, Yoganshi Shah, run BauBax, a company that creates products to make traveling a little easier -- for example, its popular all-purpose travel jacket equipped with 15 compartments, including a neck pillow and pockets for your charger and phone. Sanghavi likens crowdfunding to the filmmaking process.
He says that when you are in the planning stages, it isn't enough just to post the campaign and hope for the best. Connect with your former classmates and co-workers, friends, family and community members. That reach -- Sanghavi says he got his product in front of roughly 10,000 people -- can provide a solid foundation and advanced buzz before you officially launch.


text:
Face tagging feature still relies on the Google's algorithm and its ability to detect person or pet's face
IANS | San Francisco November 28, 2019 Last Updated at 16:39 IST
Several months after confirming that manually tagging people on Google Photos will become a reality, the company has finally rolled out the feature in which users will be able to manually add in many of the faces that its algorithm misses out on.
Those hoping that the feature would allow you to point at any area in an image and add a tag to it, will be disappointed.
Face tagging feature still relies on the tech giant's algorithm and its ability to detect a person or pet's face to begin with, Android Police reported on Wednesday.
To manually tag people, open Google Photos, look for any picture with people or pets in it, and swipe up or tap the overflow key on the top right. This brings up the updated EXIF panel with the People section, recognised persons' avatars, and an edit icon or pen on the right.
As far as privacy is concerned, Google will automatically scan users' photos for faces if they have the "face grouping" feature turned on.
The says it doesn't share this information between accounts, according to The Verge.
--IANS
ksc/adr/


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Preservation Academy 2023 Webinar 3: Skilled Craft Workers Needed: The Need for More Preservation Tradespeople, and Resources to Help Complete Preservation Projects Yourself
You are not alone if you have had a difficult time finding skilled tradespeople to repair your historic house. Skilled preservation tradespeople are in short supply across the nation, and many existing tradespeople are close to retirement, making the training of newcomers a critical priority.
While preservationists in Virginia are currently addressing this problem; join Nathalie Henshaw, Director of the Campaign for Historic Trades at Preservation Maryland, experts from Dominion Traditional Building Group, and other preservation tradespeople, for a webinar to discuss the issue and provide resources, training opportunities, and advice on proper ways to take on preservation projects yourself.
Costs for the webinar are $25 for non-members and $15 for members. A group rate of $100 is available for a group of 6 or more. For more information on group tickets, please contact Sonja Ingram at singram@preservationvirginia.org. To register please click HERE.


This was the first picture I took of Simon. Meeting him was a whirlwind of emotions. Joy that he had finally arrive. Wonder at how beautiful he was. And then worry as the doctors determined he was having breathing problems. I went with him to the NICU while Amanda recovered. I spent an hour or two (who can keep track of time in that situation) alone with Simon in the NICU. I talked to him and told him how much I loved him. My beautiful baby boy was covered in wires and I couldn't hold him close how I wanted. But I could hold his tiny little hand.
I called this "teaching my boy how to nap". I wasn't actually asleep but I was showing him the proper technique for couch napping. He was so little and slept so much I just wanted to make sure he got the most out of it, ya know?
Look. At. That. Little. Dude.
He still sleeps sprawled out like that it just takes up more space. I love his outfit, it's what we took him to Christmas Eve mass in. It's a little heartbreaking to see the oxygen cord though. I remember his first month so vividly in my brain but I remember all the positive things and I often forget how hard it was to have him on oxygen. I will say we got really good at putting his onesies on from the bottom since we couldn't go over his head!


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Returning to your car to find a ticket tucked under the wiper sucks. So imagine how you'd feel finding a six square foot block of yellow plastic splayed across your windshield, rendering it impossible to see a thing.
The people who made this contraption, called the Barnacle, think you'd feel pretty OK—at least compared to how you'd feel finding one of those infernal boots clamped to the wheel. "With a boot, even in the best case scenario, it's an hour before someone can come and remove it," says Kevin Dougherty, president of Barnacle Parking Enforcement.
Fair enough. But still. A barnacle?
Dougherty developed the Barnacle to overcome all the horrible things about the wheel clamps, also known as a wheel boot, a Denver boot, and any combination of expletives. Parking enforcement types typically deploy them against scofflaws with piles of unpaid tickets. But they're almost as big a hassle for them as they are for you. I mean, have you ever carried one? They're also tricky to install.
The Barnacle is a breeze in comparison, weighing in at under 20 pounds. Simply unfold it and stick it on the windshield, aligning it to obscure forward vision. Then use the built-in pump to draw air from the suction cups, creating a vacuum. The integrated GPS signals an alarm if the car moves, alerting Johnny Law to your attempted escape.
At this point, you've got two options: Call the authorities and have them come take your money and release the car, or make a payment over the phone in exchange for the code needed to release the damn thing. You've got 24 hours to return it, and don't even think about affixing it to someone else's car. The pump is locked into the tough high-impact ABS plastic body.
Yes, there is a third option: Ignore the alarm, stick your head out the window, and hit the gas. "Ah yes, the Ace Ventura reference," says Dougherty. "We get that a lot." But it's almost impossible to drive that way. It's also illegal, and don't you have enough problems already?
Forget about prying the Barnacle off. The suction is so strong—about 700 pounds—you'd pull the windshield out. A security ring prevents getting a crow bar or anything else under it.
Parking officials in Allentown, Pennsylvania, and Fort Lauderdale, Florida, are giving the Barnacle a try. Dougherty sent each city a few of them, and he's convinced everyone—drivers included—will prefer it to the boot. (We've reached out to officials in each city, and will update the article with their thoughts when they reply.)
Of course, the hassle of waiting to get a boot removed is part of the deterrent. If the Barnacle is relatively easy for drivers to yank off after calling in a payment, you can imagine authorities increasing fines to maintain that deterrent. And if they're easier to apply, you can see cities using them more often to boost revenue.
Such criticisms apply to all enforcement measures. Used correctly, they can make parking fairer, and keep the roads safer. Used too widely, they can make people miserable. All the more reason to eliminate parking altogether. But that's another story.
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Today marks the first day of New York Fashion Week, and while the fashion world anxiously awaits a peek at the trends coming down the runway for A/W 2014, I can't help but anxiously await the arrival of spring! Today, I'm sharing a few of my favorite trends that were forecasted for spring 2014, and how we here at ModCloth are interpreting the looks.
Country Crooning Dress, Sparkling Cocktails Dress, Apricot Your Attention Dress, and Clear Agenda Flat, all available from ModCloth.
Pastels are a pretty way to infuse your wardrobe with a burst of color come springtime. If you're not quite ready to wear head-to-toe robin's egg blue, or a suit of lavender lace — as pictured in the runway shots, above — try adding just a touch of a sweet shade to your outfit. A peachy-pink dress paired with lacy tights and contrasting brogues speaks to spring without being over the top, or try an aqua-hued dress lined with navy piping for a subtle nod towards the trend.
Ring in Spring Dress, Avid Antiquer Dress, Exhilarating Embrace Dress, and Gifted Gardener Dress, all available from ModCloth.
I know, I know: florals for spring? Groundbreaking. But, there's something to be said for this perennial trend, especially if you live on the cold East Coast! When warm weather finally hits, it's so refreshing to shed those winter tights and sweaters in favor of dresses adorned with big, bright florals. Keep it light and airy by choosing a dress with an all-over print, and pairing it with solid accessories, like a classic moto jacket and walkable wedges.
After months of scratchy sweaters, there's no better feeling than forgoing those heavy layers in favor of something lighter. While spring weather often requires a light coat or cardigan, the options this season are seemingly endless. If the combination of neon and tie-dye is a little too much for you, try adding a pastel knit atop a collared shirt, or drape a nautical sweater over your shoulders to have on hand if the wind kicks up.
What trends are you dying to try this spring? Be sure to share in the comments!
I love the spring sweaters, especially the burnt orange one.
I'm dying to try the pastels. An these Clear Agenda Flats are just fabulous!!!


Spoleto Festival USA is a 501(c)(3) charitable organization.
Click HERE to purchase a commemorative Spoleto 40 coffee-table book. This book was published in 2016 and written by Allan Kozinn.
The Festival's mission is to present programs of the highest artistic caliber while maintaining a dedication to young artists, a commitment to all forms of the performing arts, a passion for contemporary innovation, and an enthusiasm for providing unusual performance opportunities for established artists. This focus has brought the Festival international acclaim year after year. Contributing to the Festival's ongoing success is its location in Charleston. Recognized the world over for its stunning natural beauty, impressive array of preserved historical architecture, and wealth of charming performance venues, Charleston provides an incomparable setting for audience members and guest artists alike.
Spoleto Festival USA was founded in 1977 by Pulitzer Prize-winning composer Gian Carlo Menotti, Christopher Keene, and others who sought to create an American counterpart to their annual Festival of Two Worlds in Spoleto, Italy. Looking for a city that would provide the charm of Spoleto as well as its wealth of theaters, churches and other performances spaces, they selected Charleston as the ideal location. The historic city provided a perfect fit: intimate enough that the Festival would captivate the entire city, yet cosmopolitan enough to provide an enthusiastic audience and robust infrastructure.
Click HERE for a full program history through 2018.
In the decades since its inception, Spoleto Festival USA has firmly established itself as one of the world's leading festivals, presenting more than 200 world or American premieres. Notable past premieres and commissions include: Matsukaze by Toshio Hosokawa; Monkey: Journey to the West by Chen Shi-Zheng, Damon Albarn and Jamie Hewlett; Peter and Wendy by Lee Breuer; Creve Coeur by Tennessee Williams; The American Clock by Arthur Miller; The Mechanical Organ by the Nikolais Dance Theatre; Miracolo d'Amore by Martha Clarke; Empty Places by Laurie Anderson; Hydrogen Jukebox by Philip Glass and Allen Ginsberg; Praise House by Urban Bush Women; Three Tales by Steve Reich and Beryl Korot; and Tenebrae by Osvaldo Golijov. World-renowned artists who performed early in their careers at Spoleto Festival USA include Renée Fleming, Emanuel Ax, Joshua Bell, Yo-Yo Ma, the Emerson String Quartet and Jean-Yves Thibaudet.
2012 Bank of America Chamber Music. Photo by Julia Lynn.
Gaillard Auditorium Audience. Photo by Julia Lynn.
LEO Community Event. Photo by Julia Lynn.
2012 Cistern Yard Performance. Photo by Julia Lynn.
2012 Festival Finale. Photo by Julia Lynn.


Russell Benson sets out why he thinks it's time for all organisations to make climate change a priority.
It was no doubt a difficult year for Comic Relief, but despite most of the noise taken up with David Lammy and the 'White Saviour' debate, perhaps the most significant complaint was the fact that there is unnecessary use of plastic amongst its products, with the noses themselves coming under the most scrutiny.
A simple search through social media activity on 'Comic Relief plastic' brings up many stories of schools and others cricising the noses, often finding alternative ways to have a red nose, with paint being a favourite alternative. One headline in the Times ran "Comic Relief's plastic red nose is now deemed toxic waste as millions end up in landfill - where they will never degrade".
Perhaps it was just bad timing with the young people's climate strike taking part on the same day, but ever since Blue Planet 2 was aired at the end of 2017, plastic usage has shot up the nation's consciousness. Who would have thought a couple of years ago that we'd barely see a plastic straw in a pubs or that we'd all pack our shopping in re-usable bags. If society wants change, they want it quickly, even during the times of Brexit chaos.
This is rightly a growing concern in society, particularly for young people, so we can either carry on as we are, wait until we get criticism and react accordingly, or we can be proactive and take the lead on this issue in society, which is arguably what we should always do as a sector when society is threatened in such a way.
Why should we make it a priority?
Aren't our own missions more important than this? Will we have time? Will I get buy in from the organisation? Won't it be more expensive?
1) This is what young people care about most.
Young people are saying loud and clear that they see this as their most important issue. Maybe in the future, instead of people comparing our admin costs or CEO pay, we will be compared by our environmental impact. Those who don't act now, might find they miss out on millennial donations in the future.
Inevitably, the more we destroy the climate, the more of society's resources will be prioritised to be spent dealing with the fallout. Money that may have been allocated to our own causes at both voluntary and statutory level.
3) If we don't stop the destruction of the planet, there won't be anything left.
And the doomsday response is that if we are truly on course to destroy our planet, why bother with our missions anyway?
And if the business case doesn't snap us into action, the moral case should do. Just some stats from WWF below that we must stop.
There could be more plastic in the sea than fish by 2050.
Wildlife population sizes have plummeted by 60 per cent in under 50 years.
We destroy an area of forest the size of a football pitch every two seconds.
Food is a major driver of wildlife extinction. The food we eat in the UK alone is linked to the extinction of an estimated 33 species at home and abroad.
It's time our sector stood up and showed young people all over the world that we are listening to their concerns and taking actions. In a very short time, we won't be able to afford not to prioritise climate destruction, so the time to take action is now, as Comic Relief have already promised. Will the rest of us follow before it's too late?
Russell Benson works for a UK charity. He is writing in a personal capacity.


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So Much to Do in Nanaimo
Posted by Martin MacDonald on Thursday, July 9, 2020 at 12:05 AM By Martin MacDonald / July 9, 2020 Comment
Nanaimo, located mid Island on the east coast, is 55 km (34 miles) across the Salish Sea (Straight of Georgia) from Vancouver and 110 km (68 miles) north from Victoria at the most southern tip of the Island. It is Vancouver Island's 2nd largest city with some 85,000 residents.
Nanaimo, known as the harbour city, has a large protected natural harbour and is a key transportation hub for Vancouver Island.
Getting to Nanaimo
Take a leisurely ferry ride from Vancouver on BC Ferries – the trip alone, which takes about 1.5 hours, is very relaxing. Do nothing but chill out watching the views, or enjoy a casual meal or a gourmet coffee. You can enjoy the trip from comfortable chairs indoors or enjoy the open deck outdoors. Keep an eye out for Pacific White-Sided dolphins or the majestic Killer Whale pods which call this area home. More information on schedules: http://www.bcferries.com/schedules/mainland/hbna-current.php
Travel to Nanaimo by helicopter which takes a mere 20 minutes from Vancouver. Plus, you get a beautiful aerial view of the west coast, the Gulf Islands, and Vancouver Island.
Fly into Nanaimo Airport. (YCD). It is small and friendly with modern passenger facilities. – about a 15-minute drive south of Nanaimo. It has daily flights that include Vancouver and Calgary. There are also float plane flights to the Nanaimo downtown harbour.
Drop by on your boat or yacht. Guest moorage available at Nanaimo Port Authority's Visiting Vessel Pier, the Nanaimo Yacht Club, Stones Marina and Newcastle Island. All except, Newcastle Island, are a short walk to downtown Nanaimo.
Enjoy Nature by Walking or Hiking Around Nanaimo
Take a leisurely stroll along the waterfront of the "Harbour City". You can start at the south end which has a marina for pleasure boats adjoined with commercial fishing docks. Going north you will pass a coffee shop, ice cream stores (hard to get by without going in), gourmet tea store, ticket counters for the sea planes and a restaurant. You will come to the Swy-A-Lana Lagoon, a fishing pier and a children's park. The walkway (4km/2.5mi) continues towards the ferry terminal at Departure Bay.
Experience one of Nanaimo's many trails – in fact some 170km (106 miles) – from parks to cycle routes. Many are suitable for walking, rollerblading, and biking. The more popular ones are Parkway Trail, Walley Creek Trail, E&N Trail, and Harbour front walkway. The well-liked nature trails include Cable Bay trail, Neck Point Park, and Westwood Lake.
Take a nature walk at Neck Point Park off Morningside Drive – right on the water (Gulf of Georgia). Number of options for long or short walks that are both interesting and beautiful. Lots of places to sit and relax – great views of boats going by and the mountains across the gulf. This is an impressive nature park that is accessible to most people.
Pipers Lagoon Park is a local favorite for a walk with nature. You will get a great view of the islands and departing BC Ferries by the Departure Bay entrance. You can walk around the island and as a bonus get a closer look at Shack Island, home of original cottages from early residents.
Visit the Newcastle Island, Saysutshun (Au' si:em siyeyu), a Marine Provincial Park – just a 5-minute ferry ride from Maffeo Sutton Dock on Nanaimo's waterfront. There are great views of Nanaimo, the harbour and the mountains. Camping and boat docking is available. There are no cars and very little development on the Island, so you really get to enjoy nature. More information: https://www.newcastleisland.ca/
Enjoy a walk around Westwood Lake off Westwood Road – great views of the lake on this moderate trail. It takes about an hour to walk around the lake trail. The trail loops around the lake close to shore and has a beautiful lookout. The trail is just over 5km (3.5 miles) and is well maintained. It is an easy walking trail except a steep section at the west end of the lake. Also has shorter loops at the south end.
The Morrell Nature Sanctuary is open year-round and has educational programs. Society. The sanctuary is on 111 hectares (278 acres) of beautiful forest owned by The Nature Trust. Features a small lake, a rocky viewing point above the forest and a children's trail. Open year round at 787 Nanaimo Lakes Road. Also connects to Westwood Lake for a longer hike.
Nanaimo has an abundance of parks to enjoy and chill out. (880 hectares of City parks). Very beautiful in the fall when the leaves to turn to the golden yellows and browns. Check out two of the larger parks: Bowen Park and Beban Park. More information: https://www.nanaimo.ca/parks-search/Parks/ParkList
For the adventurous, you can hike, even in winter with snow on the ground, to the summit of Mt Benson where you will see spectacular views of Nanaimo, the costal mountains and the Straight of Georgia. Elevation 1,023 m (3,356 ft). The trailhead is located on Benson View Road (off Kilpatrick Road, off Jingle Pot Road, off Highway 19). This is not for the faint of heart – plan on 5 to 7 hours to hike up and down. More information: https://www.rdn.bc.ca/mount-benson-regional-park
The Arts & History in the Nanaimo Area
The "Arts District" along Commercial Street in downtown Nanaimo hosts heritage buildings, artist studios, a museum, and native art. Also in the downtown area is the 800-seat Port Theatre , which hosts concerts, theatre, dances, and more.
Nanaimo is home to the professional Vancouver Island Symphony. Experience up close and personal the live symphonic music at the Port Theatre in downtown Nanaimo during the fall and winter months. The Symphony also has educational and children's programs. Real fun at the rehearsal sessions. More information: vancouverislandsymphony.com
TheatreOne offers live theatre with an emphasis on Canadian works, staged readings to encourage new writers, Just Kidding for Kid theatre, Fringe Flicks independent film series, and the annual Bite of Nanaimo gourmet food festival. More information: theatreone.org
Enjoy wonderful performances at the Port Theatre on Nanaimo's downtown waterfront. The theatre offers a wide range of events, music, dance, theatre, comedy, Vancouver Island Symphony, meetings, and conferences. Ticket Centre located on the Front Street side of the building. More information: porttheatre.com
The Nanaimo Museum, located in the heart of the downtown, has many wonderful activities, events, and attractions. The museum offers award-winning exhibits, a gift shop as well as popular meeting and reception spaces. The museum also has feature exhibits from the National Gallery, the Canadian History Museum, and the Vancouver Art Gallery. More information: http://nanaimomuseum.ca/
The Nanaimo Art Gallery at 150 Commercial Street in downtown Nanaimo has exceptional exhibitions of local and contemporary art. It is part of the larger Nanaimo Arts Centre. Enjoy lectures, workshops and activities for all ages. Local art offered for sale. More information: http://nanaimogallery.ca/
Vancouver Island Military Museum in Nanaimo's downtown close to the Port Theatre. With more than 25 displays and exhibits, it is considered to be BC's most significant Military Museum. More information: http://www.vimms.ca/
The Hudson's Bay Company Bastion is a historical octagon-shaped building on Front Street in downtown Nanaimo. It was built in the mid-1800s to defend the nearby coal mining operations. Now designated as a local heritage site. The exhibits inside can be viewed in the summer months.
Nanaimo Family Fun
Take the kids to a Children's Water Park and public indoor pool at Beban Park, at 2300 Bowen Road. They will love the lazy river, a tot pool, and spray features. For teens and adults, there is a water slide, full-length pool, diving boards, steam room, and hot tub. Also, there is exercise equipment and a weight room.
Oliver Woods Community Centre has a wide variety of indoor functions from a preschool to fitness studio to two gymnasiums. Onsite childcare is offered. More information: http://www.nanaimo.ca/schedules/parks-recreation-culture/
Kids fun house at Jumping Jimmy's. It is an 8,000 sq ft play area for kids up to age 15. Features include a large play structure, toddler's area, air hockey, games room, football, climbing wall and a craft area. In addition, there is a café, gift shop and party rooms. More information: www.jumpingjiminys.com
Hit the links! Nanaimo enjoys a comfortable climate even in the off season so you can golf almost year-round or fine-tune your game at a driving range. Plus, the green fees drop and there are likely no wait times to tee off. Some of the local clubs also have casual dining and special events. More information: golfmax.ca/Golf-Courses/Nanaimo-British-Columbia-Golf-Courses.shtml
Swimming & Scuba Diving in Nanaimo
World class scuba diving in Nanaimo's cold, clear waters. Jacques Cousteau called this area "the best temperate diving in the world, second to only the Red Sea." Nanaimo is home to three amazing wreck dives, one of which is considered to be the world's largest artificial reef. One of the wreck sites is suitable for beginning divers. Nanaimo has several pro dive shops to help you with your equipment, diving tips, and charters.
Indoor Swimming at the Nanaimo Aquatic Centre – featuring an Olympic length pool, wave pool (one of the biggest in Western Canada), water slides, diving boards and more. In addition, adults can enjoy the steam room, hot tub, or dry sauna. There is a weight room and fitness equipment. The centre is located within the Larry McNabb Sports Zone near Vancouver Island University. More information: https://www.nanaimo.ca/facilities/Details/147-Nanaimo-Aquatic-Centre.
Unwind while you enjoy a kayak trip in the calm waters of the Gulf Islands (east of Vancouver Island). Paddle with otters, seals, eagles, and more from a kayak. Great opportunity to try out sea kayaking. You can take a guided trip that begins and ends from Cedar-by-the-Sea, just minutes south of Nanaimo. A gourmet lunch is provided by the operator, Wildheart Adventure Tours. More information: kayakbc.com
Shopping in and Around Nanaimo
Shop till you drop in the many shopping malls along the highway through town including Woodgrove, the largest mall on Vancouver Island, is home to over 140 stores and services including Hudson's Bay, Old Navy, Walmart, Save On Foods (3 locations in Nanaimo), Sport Chek, and Chapters.
Check out the shops and casual eateries in Nanaimo's historic Old City Quarter. You can relax here in the few blocks that are home to a mix of specialty retail shops, restaurants, and services. Definitely go at a slow pace.
Nanaimo Nightlife
Although very laid back, Nanaimo does have a nightlife. There are a number of performance spaces and nightspots around the city including The Cambie, The Queen's, and The Nanaimo Bar.
Take in one of the latest movies at either the Avalon (Landmark Cinema) at the Woodgrove Shopping Centre or the Galaxy (Cineplex) at the Nanaimo North Town Centre (Rutherford Mall) – both modern multiplex cinemas with the most recent Hollywood films plus very comfortable seating.
Article Courtesy of Amazing Vancouver Island
All Categories Buying a Home (3) Nanaimo (1) Selling Your Home (2)
July, 2020 (2) January, 2020 (4)
home staging selling advice selling tips selling your home
Nanoose
North Jingle Pot
Parksville
Qualicum Beach
South Jingle Pot
Today's Nanaimo Area Listings
Martin MacDonald
Royal LePage Nanaimo Realty
4200 Island Highway
Nanaimo, BC V9T 1W6
© Copyright 2023 Martin MacDonald. All Rights Reserved.
By Martin MacDonald 7/9/2020
Thinking of Selling Your Home? Do these things first


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Lingraphica underwent a rigorous onsite survey in January of this year. During the survey, compliance with standards reflecting key organization areas was evaluated, including the provision of care, treatment and services, emergency management, human resources, individual rights and responsibilities, and leadership. The Joint Commission's Accreditation Program supports the efforts of its accredited organizations to help deliver excellent care and services.
The Joint Commission's standards are developed in consultation with health care experts, home care providers and researchers, as well as industry experts, purchasers , and consumers. The standards are informed by scientific literature and expert consensus to help organizations measure, assess, and improve performance. The Joint Commission accreditation is awarded for a three-year period.
Begin your Gold Seal experience by starting a device trial today!


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Q: Perl Moose - How do I deploy my class pm file? I am trying to look into learning Moose and need to know how to properly deploy my class pm file.
What I mean is I created a Person.pm.
Can I call this in my main package if it is in the same folder as my main.pl script doing a use Person; or do I have to do a make and deploy it to my @INC perl modules location before being able to use the file?
I am hoping to create pm class files in my local folder and then simply call them with my program main.pl in that folder.
How would I go about doing this?

A: Perl does default to having . as the first item in @INC, so side-by-side will work. If you want to be a little more sophisticated, you can use FindBin and use lib:
#!/usr/bin/env perl
use strict;
use warnings;

use FindBin;
use lib "$FindBin::Bin/lib";

# Main program continues...

Now put your modules in lib/ in the same directory as your script, and your script will see them. This keeps your library modules and your script(s) separated. If you're writing tests, you can have a t/ library with the test scripts starting like this:
use strict;
use warnings;

use FindBin;
use lib "$FindBin::Bin/../lib";

use Test::More;
# other test modules, your plan, etc.

And your tests will look in the right place for the library modules as well.
You can also use PERL5OPT=-I/path/to/some/library to add that path to your @INC, and you then don't need use lib at all.

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